1968. Synthetic polymer paint on board, 20 x 30" (50.8 x 76.2 cm). Gift of Edward R. Broida.

2012 The Estate of Philip Guston North 1961-62. Oil on canvas, 69" x 6' 5" (175.3 x 195.6 cm). Gift of Musa Guston. 2012 The Estate of Philip Guston Box and Shadow 1978. Oil on canvas, 69 1/8" x 8' 2 5/8" (175.6 x 250.5 cm). Gift of Musa Guston. 2012 The Estate of Philip Guston 2004. Synthetic polymer paint, 8' x 37' (243.8 x 1127.8 cm). Given anonymously. 2012 Sol LeWitt / Artists Rights Society (ARS), New York 413.2004

Donald L. Bryant, Jr., and Andreas C. Dracopoulos Funds. 2012 Carroll

Dunham

Synthetic polymer paint on canvas Synthetic polymer paint and pasted paper on plywood, two panels Lead, hare's blood, glass, and steel, Neon tubing and wire with glass tubing suspension frames Silkscreen ink on canvas

And I thought, "Well, I wonder what would happen if you just gave the public what they know," which would be, let's say, words and photographic images. You know, they'd probably had a camera, and they probably read books, magazines, and newspapers, so I said, "I'll just do text pieces, or I'll do text and photo pieces" that doesn't look like Abstract Expressionism, it looks like something in their lives. But I would put it on canvas, and that would be a signal that it would be art. What comes afterwards is not your traditional kind of painting. And the piece is not actually physically done by me. Somebody built the stretcher bars, stretched the canvas, primed it. The text is painted by a professional sign painter. And the text was not written by me, but it's an appropriated text that I found. I've always been attracted to anyone that can blatantly say what art is. I just like that kind of audacity, or ignorance, Silkscreen ink on synthetic polymer paint on nine canvases,

Study for Three Heads

Francis Bacon (British, born Ireland. 1909-1992)

1962. Oil on canvas, three panels, Each panel 14 1/8 x 12 1/8" (35.9 x 30.8 cm). The William S. Paley Collection. 2012 Estate of Francis Bacon / Artists Rights Society (ARS), New York / DACS, London Rarely uttered aloud, the work "oof" belongs to the world of comic strips, not the great literature and art, and particularly not to painting. We expect the emphatic word to appear wrapped in a speech bubble with an exclamation point at the end, but Ruscha has dedicated a large-scale painting to it as if it were worthy of veneration. Of his work from this period Ruscha has said, "I was interested in monosyllabic word sounds that seemed to have a certain comedic value to them." In capital letters, "oof" floats against an empty blue backdrop, suspended somewhere between image and language and between iconicity and absurdity.

On to Pop

September 29, 2010April 25, 2011

Chrome-plated metal drum containing a roll of paper with an ink line drawn along its 1000meter length

The Museum of Modern Art 11 West 53 Street New York, NY 10019 (212) 708-9400 |
Oil, enamel, and aluminum paint on canvas, 48 1/4 x 38 1/4" (122.4 x 96.9 cm). The Sidney and Harri

WHAT IS PAINTING DO YOU SENSE HOW ALL THE PARTS OF A GOOD PICTURE ARE INVOLVED WITH EACH OTHER, NOT JUST PLACED SIDE BY SIDE? ART IS A CREATION FOR THE EYE AND CAN ONLY BE HINTED AT WITH WORDS.